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WeirdMusic.net EXCLUSIVE INTERVIEWS

I definitely like weird music and certainly try to compose weird stuff.

- When and where did your experience in music start?

My earliest memories are of listening to music. The problem for me was that I instantly fell in love with the Beatles and knew I could not compete. Instead of learning to play, I studied engineering and production on my own and sought out how to make weird sounds and effects to generate ear candy.

- What are you currently working on and what are your plans for the rest of the year?

I am writing my Masters thesis and composing the nextThe Love Kills Theory album. I am planning to merge unlikely sounds and styles into something bizarre and new, but catchy.

- What do you consider your greatest inspirational sources in music?

Everything is a footnote to The Beatles, but other inspirations have been Gang of Four, Devo, The Pixies, Echo and the Bunnymen, and The Brian Jonestown Massacre. Dr. Demento was also a major influence on me. At some point the distinction between weird and comedic got lost, though.

- What are your favorite readings?

Amusing Ourselves to Death, Coming of Age at the End of History, Magic Circles, Infinity and the Mind...

- In your opinion, what role does the third sector, public and non-
profit entities; have for music on the Internet?

I haven't studied the impact sufficiently to make an intelligent statement.

the love kills theory is based on an amalgam of the works of Guy Debord, founder of Situationist International, Aldous Huxley, and others, fused with the current bio-genetic studies on the evolution of despair.

In the spirit of Dylan Thomas, the love kills theory was formed as a desperate, and most likely futile, struggle against the demise of art in popular culture. The regression that has taken place in all mediums could not have come about without a complicit and intellectually lazy audience who require less and less in terms of content, but grow ever more impatient with their demands for immediate gratification. Combine this with the fact that the desire for exposure among most performers has preceded any sense of need for content or substantive message and you have all the ingredients necessary to produce a cultural wasteland.

As their name implies, the love kills theory is not so much a band as it is a manifesto. Society has reached a point in its development where the pursuit of the things we love – indulgence in all of its forms – is killing us by making us all soulless consumers. If art can't be resurrected, at least the reasons for its death will be documented in their songs.

The petty details of the history of the band and its members and assorted accolades are irrelevant filler.